music is the kiezoop, which is formed of a number of small gongs,
graduated in size and tone on the principle of the harmonica, and
suspended in a circular frame about four feet high and five feet wide;
within which the performer stands, and extracts a succession of soft
tones, by striking on the gongs with two small sticks. Another circular
instrument (the boundah) serves as a bass; it contains an equal number
of different-sized drums, on which the musician strikes with violence,
with a view perhaps to weaken the shrill, discordant notes of a very
rude species of flageolet, and of an equally imperfect kind of trumpet,
which are usually played with a total disregard of time, tune, or
harmony. Two or three other instruments, similar in principle to the
violin, complete the orchestra. To Europeans, there was not much to
admire in the sounds produced by these instruments; neither did our
music appear to have many charms for the Burmahs, whom I have seen
present at the performance of some of Rossini's most beautiful airs, and
of different martial pieces, by one of our best regimental bands,
without expressing, either by their words or gestures, the least
satisfaction at what they heard.

In condemning, however, the Bunnaa instrumental music generally, I would
observe, that some of the vocal airs have a very pleasing effect when
accompanied by the Patola. This is an instrument made in the fantastic
shape of an alligator; the body of it is hollow, with openings at the
back, and three strings only are used, which are supported by a bridge,
as in a violin.

I chanced one day to meet with a young Burman who had been stone blind
from his birth, but who, gifted with great talent for music, used to
console himself for his misfortune by playing on this species of guitar,
and accompanying his voice. When I expressed a wish to hear him perform,